I started a thread here last week which touched on keeping the signal
chain the same to retain consistency in the sound of the vocals.
There were some here who were of the opinion that the key to a
consistent sound has nothing to do with gear, and that one should
always use different gear depending upon venue. Although everyone has
their own opinions, thought I'd post something I just read regarding
that exact topic.

This is an excerpt from a Mix magazine interview with Michael Pollack
and Derek Van Ord about mixing the Ben Harper/Jack Johnson tour:

"While Van Ord stresses that mixing monitors for Harper and Johnson
was challenging, it was alleviated somewhat in the fact that Harper
owns most of the rig. "Michael and I got Ben on that early," reveals
Van Ord, "because when we first started touring with him, Ben wanted a
very consistent sound, and to do that, you have to have the same gear.
So we pushed Ben to start small: buy your vocal microphone and then
you have to buy a certain processor."

Just a few other people who believe consistency begins with
consistency in the signal chain.

(jerome) wrote in
om:

I started a thread here last week which touched on keeping the signal
chain the same to retain consistency in the sound of the vocals.
There were some here who were of the opinion that the key to a
consistent sound has nothing to do with gear, and that one should
always use different gear depending upon venue. Although everyone has
their own opinions, thought I'd post something I just read regarding
that exact topic.



I think that consistancy results from several key elements:

1. Familiarity with the equipment. It's not necessary to have the exact
same equipment each gig, because obviously you need a lot more when you
move from 500 seat halls to 5000 seat halls to 50000 seat stadiums, but the
engineer needs to know the equipment like the back of his hand.
2. Hardcore preventive maintenance. Make sure stuff is fixed BEFORE it
has a chance to break.
3. Familiarity with the venue.
4. Familiarity with the performer.
5. Plenty of time before the show to work out unexpected "last minute
disasters".
6. An experienced engineer with a good attitude as well as a good ear, who
realizes that he is working for three bosses: The Venue, The Audience, and
The Performers. A good soundman can make sure all three are happy, all the
time.


Obviously you aren't going to have all elements all the time, but get as
many as you can each time and you will be doing okay.

JIM

Jim Saurman wrote:
(jerome) wrote in
om:


I started a thread here last week which touched on keeping the signal
chain the same to retain consistency in the sound of the vocals.
There were some here who were of the opinion that the key to a
consistent sound has nothing to do with gear, and that one should
always use different gear depending upon venue. Although everyone has
their own opinions, thought I'd post something I just read regarding
that exact topic.

I think that consistancy results from several key elements:

1. Familiarity with the equipment. It's not necessary to have the exact
same equipment each gig, because obviously you need a lot more when you
move from 500 seat halls to 5000 seat halls to 50000 seat stadiums, but the
engineer needs to know the equipment like the back of his hand.

True to an extent. BUT, whether you are playing to 500 or 50,000, you
can use the same mic, compressor, eq, reverb, in ears or wedges. That is
what will provide the consistency for the artist on stage. These things
don't need to change with the venue.

--
Eric

Practice Your Mixing Skills
Multi-Track Masters on CD-ROM
www.Raw-Tracks.com

I started a thread here last week which touched on keeping the signal
chain the same to retain consistency in the sound of the vocals.
There were some here who were of the opinion that the key to a
consistent sound has nothing to do with gear, and that one should
always use different gear depending upon venue. Although everyone has
their own opinions, thought I'd post something I just read regarding
that exact topic.

I think that consistancy results from several key elements:

1. Familiarity with the equipment. It's not necessary to have the exact
same equipment each gig, because obviously you need a lot more when you
move from 500 seat halls to 5000 seat halls to 50000 seat stadiums, but the

engineer needs to know the equipment like the back of his hand.

The most important thing dealing with consistency is the talent, on stage and
behind the controls. If your singer's and musicians can't give you a good
professional performance your going to have sucky sound no mater how much gear
you have and or don't have. The same thing with the house mixer and crew, if
the system isn't set up and operated correctly your screwed.

I started a thread here last week which touched on keeping the signal
chain the same to retain consistency in the sound of the vocals.
There were some here who were of the opinion that the key to a
consistent sound has nothing to do with gear, and that one should
always use different gear depending upon venue. Although everyone has
their own opinions, thought I'd post something I just read regarding
that exact topic.

I think that consistancy results from several key elements:

1. Familiarity with the equipment. It's not necessary to have the exact
same equipment each gig, because obviously you need a lot more when you
move from 500 seat halls to 5000 seat halls to 50000 seat stadiums, but the

engineer needs to know the equipment like the back of his hand.

The most important thing dealing with consistency is the talent, on stage and
behind the controls. If your singer's and musicians can't give you a good
professional performance your going to have sucky sound no mater how much gear
you have and or don't have. The same thing with the house mixer and crew, if
the system isn't set up and operated correctly your screwed.

Jim Saurman wrote:
(jerome) wrote in
om:


I started a thread here last week which touched on keeping the signal
chain the same to retain consistency in the sound of the vocals.
There were some here who were of the opinion that the key to a
consistent sound has nothing to do with gear, and that one should
always use different gear depending upon venue. Although everyone has
their own opinions, thought I'd post something I just read regarding
that exact topic.

I think that consistancy results from several key elements:

1. Familiarity with the equipment. It's not necessary to have the exact
same equipment each gig, because obviously you need a lot more when you
move from 500 seat halls to 5000 seat halls to 50000 seat stadiums, but the
engineer needs to know the equipment like the back of his hand.

True to an extent. BUT, whether you are playing to 500 or 50,000, you
can use the same mic, compressor, eq, reverb, in ears or wedges. That is
what will provide the consistency for the artist on stage. These things
don't need to change with the venue.

--
Eric

Practice Your Mixing Skills
Multi-Track Masters on CD-ROM
www.Raw-Tracks.com

(jerome) wrote in
om:

I started a thread here last week which touched on keeping the signal
chain the same to retain consistency in the sound of the vocals.
There were some here who were of the opinion that the key to a
consistent sound has nothing to do with gear, and that one should
always use different gear depending upon venue. Although everyone has
their own opinions, thought I'd post something I just read regarding
that exact topic.



I think that consistancy results from several key elements:

1. Familiarity with the equipment. It's not necessary to have the exact
same equipment each gig, because obviously you need a lot more when you
move from 500 seat halls to 5000 seat halls to 50000 seat stadiums, but the
engineer needs to know the equipment like the back of his hand.
2. Hardcore preventive maintenance. Make sure stuff is fixed BEFORE it
has a chance to break.
3. Familiarity with the venue.
4. Familiarity with the performer.
5. Plenty of time before the show to work out unexpected "last minute
disasters".
6. An experienced engineer with a good attitude as well as a good ear, who
realizes that he is working for three bosses: The Venue, The Audience, and
The Performers. A good soundman can make sure all three are happy, all the
time.


Obviously you aren't going to have all elements all the time, but get as
many as you can each time and you will be doing okay.

JIM

In article ,
jerome wrote:
[snip]
Just a few other people who believe consistency begins with
consistency in the signal chain.

Yeah, I'd love to use the same rig every night too and just fly
different amounts of speakers to fit the room. That's what the big
shows get.

However, consistency in this context means "we use the same gear for
every live show" and not "the gear we used to make the record is what
we use for the live show". There is a clear and huge diffference
between the two, and in the previous thread, we were talking about
using the vocal mike used on the record for stage vocals. I
personally don't think that form of consistency buys you anything
useful.

I actually travel with vocal mikes that I find to be appropriate for
stage use and consistently use these mikes whenever it's practical
with all of the bands I work with long term. Not surprisingly, these
sound great on stage, and they only once or twice a year get used to
make recordings in the studio.

So... yes, consistency in gear is good from night to night with live
sound. I do it all the time, especially with vocal mikes. Using
studio gear on stage may or may not make sense. For lead vocals,
IMHO, it's not always a great idea. Ever see anyone hand hold a 47??
You get the point...


Regards,

Monte McGuire

In article ,
jerome wrote:
[snip]
Just a few other people who believe consistency begins with
consistency in the signal chain.

Yeah, I'd love to use the same rig every night too and just fly
different amounts of speakers to fit the room. That's what the big
shows get.

However, consistency in this context means "we use the same gear for
every live show" and not "the gear we used to make the record is what
we use for the live show". There is a clear and huge diffference
between the two, and in the previous thread, we were talking about
using the vocal mike used on the record for stage vocals. I
personally don't think that form of consistency buys you anything
useful.

I actually travel with vocal mikes that I find to be appropriate for
stage use and consistently use these mikes whenever it's practical
with all of the bands I work with long term. Not surprisingly, these
sound great on stage, and they only once or twice a year get used to
make recordings in the studio.

So... yes, consistency in gear is good from night to night with live
sound. I do it all the time, especially with vocal mikes. Using
studio gear on stage may or may not make sense. For lead vocals,
IMHO, it's not always a great idea. Ever see anyone hand hold a 47??
You get the point...


Regards,

Monte McGuire